Categories :

Similar artists

Albums

CD$16.49

Rock - Released June 14, 2019 | Polydor Records

HI-RES$16.49
CD$13.99

Rock - Released June 1, 2018 | Polydor Records

Hi-Res
There was a time not so long ago when these two men wouldn't holiday together, or indeed spend any studio time together on each other's projects once their "obligations" to the Who were out of the way. But that's all water under the bridge and today it's hardly a surprise to see Roger Daltrey accompanied by Pete Townshend on his ninth studio album. The last time he deigned to lend a helping hand was on McVicar in 1980. After that, not only did he play no part in Under A Raging Moon, a song on the album of the same name by the much-missed Keith Moon, but he also forbade John Entwistle from playing bass on it, on pain of reprisals.But perhaps the latter got vexed listening to the joyful Going Back Home recorded in 2014 by the singer, alongside Wilco Johnson. Note that, apart from the success of his two first albums, which even made some fear for the future of the Who in the mid-70s, Daltrey is far from being as serious about his solo career as Townshend is in his. His avowed inability to write music has seen him make choices which are often surprising, and more than once, dismaying. And we're not talking about his fairly honourable cover of Cargo by Axel Bauer. Here, he has put effort into his writing and Certified Rose and Always Heading Home show that he possesses a rare mastery of the soul idiom.Even with Townshend on hand, As Long As I Have You doesn't feel at all like a Who album in disguise, as does much of Daltrey's non-Who output, with the exception of How Far by Stephen Stills. Even a big number like You Haven’t Done Nothing, the 1974 Stevie Wonder hit, would be quite out of place on Quadrophenia, Who’s Next or even Endless Wire... And who's complaining about his pronounced taste for smooth ballads? Just listen to his reserved rendition of Nick Cave's Into My Arms. This album, which relies more on savoir-faire than innovation, is in no danger of eclipsing the Who's fiftieth birthday celebrations: but it's absolutely up to scratch for all that. © Jean-Pierre Sabouret/Qobuz
CD$13.99

Rock - Released June 1, 2018 | Polydor Records

As Long as I Have You was a long time coming for Roger Daltrey. Set aside the fact that it's his first solo album since 1992's Rocks in the Head: the album was nearly four years in the making, started after his 2014 Wilko Johnson collaboration, Going Back Home, and not released until June of 2018. During that time, Daltrey battled viral meningitis, a struggle that had him on the verge of ditching the record, but his old Who cohort Pete Townshend heard some rough mixes and encouraged the singer to finish, volunteering his services as a session musician. Townshend's presence may suggest that he contributed original songs, but that's not the case. He's strictly a guitarist, playing rhythm on the soul covers that dominate As Long as I Have You. While the album isn't strictly covers -- Daltrey co-wrote two sentimental tunes, "Certified Rose" and "Always Heading Home" -- the record is built upon older material, songs that allow Daltrey to tie his past to the present. He chooses some songs that date back to the '60s, when he was just starting out as a singer -- Joe Tex's "The Love You Save"; the title track, which was originally cut by Garnet Mimms -- and balances them with his '70s contemporaries (Stephen Stills' "How Far," Boz Scaggs' "I've Got Your Love," Stevie Wonder's "You Haven't Done Nothing") along with Nick Cave's "Into My Arms." Daltrey stumbles upon the latter -- it's too somber and stately for his style -- but the rest of the record finds him in a fleet fashion, alternating between soulful testifying and empathy. Like Going Back Home before it, As Long as I Have You benefits from Daltrey's diminished range, as it adds gravity and grit to his interpretation. This album also benefits from its tight backing band, which is graced with a swinging horn section but distinguished by Townshend playing a secondary, sympathetic role to Daltrey, helping to give this muscular, occasionally moving record an air of grace. ~ Stephen Thomas Erlewine
CD$8.99

Rock - Released August 16, 2004 | Rhino Atlantic

In a certain sense, Roger Daltrey's solo career should be divided into two parts. The first part, running from 1973 to 1980 and including the albums Daltrey, Ride A Rock Horse, One Of The Boys, and McVicar, consists of work Daltrey did in between making records and touring with The Who. The second part, from 1984 on, is Daltrey's post-Who career, during which you might expect be would be more focused and would concentrate on making his solo albums primary statements rather than diversions. Guess again. Daltrey was much more successful, commercially as well as artistically, when his solo career was a side project. Parting Should Be Painless, the first album Daltrey made after The Who's breakup in 1982, contains some interesting tracks, including Bryan Ferry's "Going Strong," which gives you an idea what Roxy Music would sound like if Daltrey was its lead singer, and "Somebody Told Me," written by Dave Stewart and Annie Lennox of Eurythmics. But for the most part, it consists of mediocre material indifferently sung. The message: Parting was painful, especially to Daltrey. ~ William Ruhlmann
CD$1.49

Rock - Released May 11, 2018 | Polydor Records

CD$12.99

Rock - Released December 2, 2008 | Rhino Atlantic

With songs unleashed from the soul of Roger Daltrey, Under a Raging Moon is a short voyage into the psyche of an aging rock star who has plenty to reveal. Daltrey's bitterness about growing older while gasping for every last breath of a youth gone by gives this album heart and a certain emotional dimension, coming to a head on the title track. His thunderous but passionate ode to his former friend and drummer Keith Moon is a fervent downpour of frustration that can be truly felt inside every line of the song. A spectacular drum solo from Mark Brzezicki is a modest tribute to the late Moon and adds depth indefinitely. A multitude of drummers appear on the album, musically paying their respects, including Cozy Powell, Roger Taylor, and Stewart Copeland. The guitar slashing "Let Me Down Easy," penned by Bryan Adams, is a perfectly formulated rock song intensified through Daltrey's energy. While this song and all of the others act as outlets for his pent up anger, each one is sung, and sometimes screamed, with genuine passion and heart. Even the slower songs, like "The Pride You Hide," display a moving amount of sincerity. Not every song is a treasure, but all contain a intangible character that only Daltrey can muster. ~ Mike DeGagne

Pop - Released November 11, 2005 | Parlophone UK

Download not available
CD$1.49

Rock - Released May 25, 2018 | Polydor Records

CD$12.99

Rock - Released August 16, 2004 | Rhino Atlantic

Daltrey, who has proven with the Who he can pack a wallop vocally, reveals a kinder, gentler side of himself on Can't Wait to See the Movie. Instead of sounding like a revered musician, he announces himself like a sniveling school boy who has just parted ways with his first love. With the exception of "Lover's Storm," all the tunes come across as if he is holding back his natural fervor while spilling out aimless schlock about love and relationships. Knowing the potential that is harnessed within Daltrey, his half-hearted attempts at unleashing the pains built up by failed romances doesn't add up to much. Some uplifting sax played by Gary Barnacle keeps the album from being a total write-off as it surfaces here and there, but a lifeless array of synthesizers droning in the backdrop of every song nullifies even the smallest asset, while adding to the pretentiousness. ~ Mike DeGagne
CD$10.49

Rock - Released August 16, 2004 | Rhino Atlantic

Crucial to the creation of this album was Daltrey's meeting with guitarist/songwriter Gerard McMahon, since Rocks In The Head, which credits "Musical Direction and Production" to McMahon, also features him as primary backup musician and writer or co-writer of ten out of the 11 tracks. Daltrey himself is co-credited on seven, a new high for him, but it's hard not to feel that he is acting primarily as McMahon's mouthpiece. McMahon updates Daltrey for the '90s, constructing hard-edged tracks based on harsh electric or acoustic guitar textures, suggesting everyone from The Who to The Police. The result is an album that does nothing to diminish Daltrey's reputation. ~ William Ruhlmann
CD$2.49

Pop - Released November 11, 2005 | Parlophone UK